美學第一章　導論[投影片 3-2]

第一章　導論(p. 4)“It was a central focus of Hegel’s

aesthetics to argue that even art itself (great art anyway) is implicitly philosophical, a form of ‘absolute spirit’, a form of self-reflective thinking in paint or tone rather than word or paragraph, in story rather than argument, in gesture and implicature rather than proof and demonstration.”

第一章　導論1. 導論2. 美學的誕生3. 品味與審美判斷4. 藝術與經驗5. 現代的藝術定義與新媒介的問題6. 結論：藝術與真理

第一章　導論“This idea that art is aesthetics because

it is in the knowledge business in some obscurely philosophical way is as old as Aristotle, who claimed that poetry is more philosophical than history because it reveals the inner workings of human action and the human soul… rather than simply telling us what happened (which is what Aristotle believed history does).”

第一章　導論“Either art is worthwhile because it more or less

delivers knowledge (in implicit form, through narrative, whatever)…” → Aristotle

“or it lacks integrity because it is willful,

obscurantist, seductive, champagne fizzing before the mind, clouding its every capacity, dulling its every portal.” → Plato

第一章　導論1. 導論2. 美學的誕生3. 品味與審美判斷4. 藝術與經驗5. 現代的藝術定義與新媒介的問題6. 結論：藝術與真理

第一章　導論“The point here is that there is a real

question about what is at stake in thinking of art as

doing philosophical aestheticsor some adjunct enterprise on occasion,

if not always…”

第一章　導論“… and conversely there is a real

problem with the philosophical measurement which requires it

(like some staff sergeant) to measure up (chin in, chest out) in this regard…

or (to) be consigned to the ranks of

French perfume.”

第一章　導論1. 導論2. 美學的誕生3. 品味與審美判斷4. 藝術與經驗5. 現代的藝術定義與新媒介的問題6. 結論：藝術與真理

第一章　導論美學的遊戲不同的玩法 在哲學之內 or在哲學之外 在藝術之內 or在藝術之外在藝術之內，就是藝術家自己用理論表述藝術是什麼

1. El Lizzitsky (1890 – 1941) 俄2. John Cage (1912 – 1992) 美3. Pierre Boulez (1925 - ) 法4. Andy Warhol (1928 – 1987) 美

CheGuevara

Andy Warhol

第一章　導論1. 導論2. 美學的誕生3. 品味與審美判斷4. 藝術與經驗5. 現代的藝術定義與新媒介的問題6. 結論：藝術與真理

Wittgenstein

TheJacksons

Family resemblances

Family resemblances I

Item_1: A B C DItem_2: B C D EItem_3: C D E FItem_4: D E F GItem_5: E F G H

Family resemblances II

Item_1: A B CItem_2: B C DItem_3: A C DItem_4: A B D

第一章　導論1. 導論2. 美學的誕生3. 品味與審美判斷4. 藝術與經驗5. 現代的藝術定義與新媒介的問題6. 結論：藝術與真理

第一章　導論“It (eighteenth century) is a moment

when these methods trumped kinds of writing offered by the humanities generally, and in doing so, seemed to divorce the subject of aesthetics from its rightful place in the larger sphere of Arts and Letters.”

第一章　導論‘essential definition’ 本質主義（ essentialism）： there

must be something that makes a thing a thing

本質（ essence）：what makes a thing a thing

第一章　導論本質主義的證成 Descartes’ wax The blooming buzzing confusions of

human experience (by William James)

第一章　導論 18世紀：定義 beauty (the beautiful)與

the sublime 19世紀：定義 art“The project of philosophical definition

and all that goes with it has been so central to the subject, and advanced it so far, that there would be no subject at all called aesthetics apart from this game.”